Thanks so much.

I'm I'm so delighted to be
here particularly to come and

see a number of old friends that I
haven't seen in quite some time but

also to see what incredible
things that you all are are doing

here.

About some of the new directions you're
taking I'm going to be followed by and

Inshallah.

As both research as
researchers as academics but

also as practitioners have
an incredible body of work to show you

a body of work that puts anything
that I have ever done to Shane So

I'm I'm going to stay a little bit away
from from any of my own work instead I

want to talk about some of the modes
of thoughts the way that we frame

the questions that we ask within this
field within the field particularly

of dealing with advanced technologies
particularly in how we deal with knowledge

in my particular area my I work
mostly on civic energy phenomena but

energy phenomena all the way from
the Pico scale on beyond there

in which case one of the things I've
always been quite fascinated about and

talking to different people about how
energy behaves about how heat transfers

about how air moves is how often there's
this assumption that it's intuitive

that we feel heat we
feel how air moves and

the I think the provocation I
want to put out for you and

actually it's sort of a promise of
everything I do is that in two inch and

senses are really really false

advertisers of what's happening out there
and too much of what we think we observe

is what we think we see colors the way
that we think we know how things work and

the reality is is that it is a very
poor picture and to the way.

That things work I want to briefly
sort of just just in a moment talk

a little bit about where I began
in this because I certainly began.

In my my own doctorate with trying
to understand a combination between

really advanced tools for
simulation coupled with

really advanced technologies how that
was going to bring bring together and

this is the type of work that I have now
spent not many years questioning but

wondering why it didn't have traction and
so much of the rest of the talk is going

to deal with why I think a lot of this
original work didn't have traction and

a lot of it has to do with
a very pervasive set of beliefs

that we have both about information and
about technology.

These are images that I was just
sort of reminded are in fried.

Book Book.

That I wrote many years ago and so you
can tell how old these images are there

are images that are familiar now to
everybody in architecture of computational

fluid dynamics I will say that these
particular studies cannot be done with

any tool available in architecture they're
actually simulating at the nano scale

very discrete almost atomic
behavior of air a molecular

behavior of air mostly because my
interest was finding this one little

moment of transition that takes place
between laminar and turbulent flow and

the interesting thing about that is if you
can manipulate that moment you can change

the heat transfer by a factor of ten so
instead of thinking about a piece

of glazing and worrying about making
a double glazing triple glazing inert gas

fill glazing if you could just modify
the moment shift the moment at which it

becomes turbulent you can change its
heat transfer by a factor of ten we want

to have everything be constituent with
the materials we operate with but it's

not the materials themselves it's actually
the context in which they exhibit.

Drive their behavior not sort of a key
realization that we're dealing with but

that was one part of it any other part of
it was sort of my interest in challenging

the technologies that we had for
for architecture so

if you think about the standard
technologies for moving he starting with

the room saw his air handler to.

Pump and then down to thermal Lector
device and all the way down to a heat pipe

with hard for many people to imagine is
that all of these move the same quantity

of heat in the same time I don't mean
relative to each other I mean absolutely

the tiny heat pipe is moving just
as much heat per hour as does

the large air handler The only difference
is that these devices are doing so

efficiently whereas the devices that we
typically use on buildings the ones on

the left do so through the most
inefficient means known to humanity and

yet those are the ones that privilege the
way that we deal with our building systems

because we have very few means
of actually sort of like

operating directly again that's what
that research was about and even.

My research was very much starting
to take advantage of even more micro

devices in order to make those tiny
changes so sort of getting away from

a homogeneous systems and then actually
starting to think about where do I want

to make discrete action and only Where
do I want to make discrete action but

that was something done twenty years ago
that has turned out to have very little

traction it produced a lot of nice
papers at different engineering and

physics conferences it excited
a lot of different students and

architecture but the reality of sort of
like trying to get that into place has

been been quite difficult and you know and
so I have been wrestling with

all of this time of I don't think I'm
asking the right question the right

question apparently is not how can we
do this more cheaply more effectively.

More reasonably apparently that
was not the right question and

so I have been trying to sort of peel back
and kill back and understand very much

how architecture and how the field of
architecture sort of deals with both

technological innovations as well as
sort of changes in our knowledge along

these lines I teach a used to
teach a course in smart materials.

And I had retired that course many many
years ago mostly because I realized that

even though I was the first person to
teach a course in smart materials and

ninety six cents and
those courses have proliferated in

any student out here I'm going to guess
probably knows more about the state of art

of smart materials than I do right now but
within those technologies I'm

also very much questioning the way that
we deploy those technologies and I'm just

sort of run you through a quick sort of
set of examples on this if you think about

the idea of automation you know whether
it's the apple home kit you know where

we're dealing with you know locks coming
on and off the thermostats the plugs and

so on many of us have certain
devices like this already here was

Google Glass your your heat is set
to twenty one turned up to twenty

four welcome home unlock
the front door to the Microsoft

room with a future as you approach the
front lights come on and you hear a click

of the door on locks to the Philips
home of the future at the front door

she is recognized by an intelligent
camera the alarmist switched off

the door unlocked and opens to
the trauma hyperintelligent building one

nine hundred eighty seven from
the moment that the employer arrives

at work the building's distributed
systems recognize them open the doors for

him we did see a gender shift it did
go you know male female male to the one

nine hundred sixty seven
Walter Cronkite sorry I apologize for

some reason the some of the fonts
are coming up very well.

Read this to you.

Completely sealed like a spy.

Capsule with perfect lighting in
temperature when you arrive at the front

door the surveillance
camera recognizes you and

you know we can go all the way back
the one nine hundred twenty S.

This is their idea of the future that in
the 1930's the door is going to open for

you so we're now talking nearly one
hundred years this sort of being a sound

and you know belief about what new
technologies are going to bring to us and

I realize that so much of this
is framing what we know in terms

of framing what the future is going to be
in terms of what we see in terms of what

we know in terms of what we're familiar
with we're kind of always operating supra

to our experience and on Friday.

And I were actually in a symposium at Yale
with Keil who talked about the fact that

we design our future as if it's
a colony of the present and

I thought that was a really
appropriate way for

thinking about that how much of what we
think about in terms of how we incorporate

this type of new information these new
technologies relates to what we know what

we see what our experience is so in order
to move forward in this I've been trying

to sort of identify sort of key areas
that we need to begin to question and

I'm going to start with a couple of these
key areas and the first time being sort of

like rethinking you know how we decide or
how we.

You know attribute certain
types of behaviors or

phenomena to certain kinds of
forms this is a building everyone

recognizes this is the collection
in Houston Texas and

this is probably one of the most famous
images that comes from the monograph or

this this image showing how the louvers
work within this building and as somebody

who specializes in transfer and sort of
also pays a great deal of attention to how

light actually moves I would look at this
image even though this image shows up on.

Again and again and again in different
types of precedence studies I look at this

image of said this makes zero sense
to me it really can't work and

it shouldn't work in the location that
it's at it just makes no sense and

I know this is when I was just starting
out as a professor at Harvard I got

a little bit of money I went down and and
what I do when I visit buildings I always

begged to be on the roof as well as begged
to be in the basement and they let me go

up on the roof and one of the things I
discovered and I I need to get these

images digitized this is back in the time
where I photographed everything but with.

An analog camera.

I have amazing images of the roof the roof
is covered over you know the louvers

don't work and the way that they're drawn
right here this sort of gives a little bit

of an indication of it the only place
the louvers are not covered over and

they are actually sort of like providing
day lighting is in the lobby the entry

lobby to the building most of the building
is actually much more like this where

the louvers are covered some parts of the
building there double cover to make sure

none of that sort of very aggressive
sunlight particularly with its

energy is getting into the building every
now and then there are these tiny slits

caught into the roof area that allow a
little bit of washing so this sort of idea

of this whole open area where the light is
coming in doesn't really happen and yet

we are we are so conditioned to look at
the drawing to look at the precedent and

sort of like take that
precedent sort of like.

You know immediately sort of converted
into a phenomenological response

that we don't ever step back to ask ask
how does it actually work we just take for

granted that it works in that fashion and
so this is going to take a see

even further to sort of another building
actually another another art museum.

Which is dealing.

You know that which is based now not just
sort of like on attributing phenomena to

a drawing but in this case sort of the
types of assumptions that exist that we

never question this has to do with
Louis Kahn's last our museum.

You know he died during during the
construction of the British the Center for

British art at Yale this by the way is
this first Art Museum the Yale art gallery

this is one of I think one of the great
corners and Rudolph architecture building

is right here one of the great corners
mid century modernism that you see

in the world taking place there but
anyway.

The Center for British art happens
to be closed right now for

renovation Yale has done an amazing job in
the last ten years of going through and

preserving and
renovating all of these buildings this for

innovation here of the first art gallery
the spectacular And so when the Center for

British art closed down for its renovation
they wanted to do what they did for

the first gallery what they did with the
first gallery is they actually installed

things and made changes that had were
never in the original building they

were part of the design for the building
but they had been value engineered out and

they wanted to sort of maintain you know.

Veracity to cons images his desire for
the building and not so much sort of like

wed themselves completely to the building
that ended up so things were installed

that actually wore in the original
building which is quite fascinating so

when they were preparing for shutting this
building down they decided they were going

to fix a huge mistake that they believe
had occurred during construction and

it had to do with the skylights so
the skylights in this building faced self

nobody faces skylights an art museum
south they always face the north so they.

Made a decision the sky lights were going
to be shifted there were now going to face

north or the renovation but
fortunately they they asked me because.

Two years before the building
shut down we had a symposium Yale

called the structure of life which was to
celebrate the work of Richard Kelly I'm

embarrassed to say as someone who taught
lighting I did not know who Richard Kelly

was until we started working on the
symposium probably the greatest lighting

designer of the twentieth century
every great modernist building

Richard Kelly had his hand in the scene
the Seagram Building over here.

You know he's responsible for why
Johnson's glass house appears the way to

all of Saracens projects you know
a remarkable lighting designer but

he was a lighting designer for all of
Khan's buildings including the Campbell

which by the way also doesn't work the way
that the images show that it works and

again I've been up on the roof of
that one as well better anyway so

I saw these drawings we were very
fortunate as we were preparing for

the symposium was that Richard Kelly's
daughter had all of his notebooks and

she had all of his notebooks in the
basement so we actually had information

that had never been seen by anyone
other than Richard Kelly or

his daughter before that included lots of
sketches about the skylight design but

there was a No what you can't quite read
on here about how the skylight has to face

south because South has less ultraviolet
and so I got a call from the Center for

British or and they asked me to come
over and say what's correct here.

We have for centuries believe that
skylights have to face north particularly

for anything that deals with art now
we have this note from one person and

one person only who says they need to
face south What was he talking about so

I went and
actually gave them a little class.

Explaining out based on the way
that lights gathers believe it or

not South light is way less
damaging to art than north like

North Light has a substantially higher
percentage Here's another image showing at

the north side has a substantially higher
percentage of ultraviolet radiation if

you're looking at our ultraviolet is the
worst blue is next bad you know that as

we move on move our way on through and you
notice that when you go into museums and

you go into textile collections certain
types of works on paper that those rooms

tend to be red because they're
stripping out the green as well and

definitely the blue but
our tendency and the reason why we

tend to get this confused is that on
a square foot per square foot basis

South white will have as much
alter violent in it as North but

on a lumen per lumen basis
south light has radically less.

By lumens not by a square foot but when
you think about a square foot a South lot

you know it's got almost ten times as much
energy sometimes much more than the north

light but you know even though
we might design sky lighting in

a spatial way when you're designing for
use you design by lumens and

not by square footage so
on aluminum by aluminum value.

Richard Kelly was absolutely correct in
that was designed to get the right kind of

lumens much better color much less
damaging going to the south so

they made the decision that they were
uncomfortable but they made the decision

that they weren't going to switch
the skylights so a couple of years later

I'm on the board of a new institute for
the preservation of.

Cultural Heritage at Yale and
they were building this massive new

conservation laboratory so
here I am while it was under construction.

Action and then.

While I was under construction
the the new director was really excited

because he wanted to show me the fact
that they were going to have daylight and

they wanted to show me the fact that
they have skylights that face the proper

direction which is north and
I said I follow you in the audience

when I explain this situation
about north versus south light and

his response was I thought you were
just talking about the Center for

British art I said you know I was
actually talking that whole latitude

around the world that's got those kind of
the way and he says you know I'm sorry but

museums have always had everything
facing north he says I I

just can't wrap my head around it so here
we are and you can see look in the sky

lights that blue light facing north that
they have in there and of course they're

they're careful not to have any of
the works or conserving on there but

to see how you know how rigidly
they sort of had to cling to this

belief system that they have because that
was that was what was always there and

therefore that had to be
right within that but

this is also something that when
it's not our particular area and

these are certain beliefs that we have out
there that we tend to sort of respond to

we're also restricting our ability to
appropriate use the information and

the technologies that we deal with this
is one and it is I've been working on for

a little while and I feel like maybe
I'm close on this particular one.

I've always been frustrated when it comes
to how we understand thermal behavior.

To this day I can't understand why
anyone thinks we should do an energy

balance around a building we're
taking a unit of property and

we're doing a thermal analysis around
it that makes zero sense to me and

I've never been able to figure
out what is the language.

In order to get us away from thinking
that's an appropriate way to do an energy

balance and this is something that I'd say
this is this hit me a little less than

a year ago I'm putting it out there to see
if this makes sense I realize that thermal

phenomena thermal behavior how air moves
how he moves that's a really complex

we think they're simple again because
our senses tell us they're simple but

those are the most complex branches of
classical physics that we deal with and

if you think about classical physics you
know and how all classical physics is

what's interesting about heat transfer
fluid mechanics in particular as they

are the newest branches of that and they
are the last branches of classical physics

to have a theoretical structure that
adequately So describe what was going on

that nails into place in one thousand nine
hundred twenty five we think about our

system nailed into place in one thousand
and eleven you know the system that

we used today so the actual science
of how air and he moved really

particularly at the boundary layer level
doesn't happen until one thousand and

twenty five and so all of our images
of how air moves really calms from

a Greek theoretical understanding
of the physics of it but

what we do understand well and we
understand extremely well in the field of

architecture is we understand structures
we understand a structural diagram we

understand how that structural
diagram manifest itself into.

A diagram for a system we understand how
that system sort of appears in a building

you know we can go anywhere in that
discourse we can go anywhere from

diagram of forces to a structural
system to a building we can go back and

forth we can enter to intuited any
point we can deduce or we can we can.

Derive we can derive a system
from looking at the diagram

we can deduce what the actual.

Diagram might be from looking at
the system it's very very neat and

very tidy and for those of us in
architecture This is our entree

into physics comms through statics
it comes to us through a structural

system that not only sort of
scaled with the building but

is actually sort of integral to
the building and integral to the form of

the building it's Intergroup in most
cases to the local the building so

if I put up a thermal diagram and this is
a very sort of classic thermal diagram

that comes perhaps from the most classic
of all textbooks on thermodynamics it

looks Khana like I could imagine
this as a structural diagram

it looks as though I could take that
out of the fire den of five you

know the boundaries of this surely
that Matz neatly onto the form of

a building you know I can take my my
boundary call it the all below I can take

all the crossing I can see the things that
might be crossing there I can imagine

all about is a map in the same way because
that's what I would do with static so

I would map statics through a structural
system directly onto the building form and

the novel up I assume I can do the same
thing with a thermodynamic system and

of course we see that manifest itself in
something image like this a sort of great

image from John Marston fish where
the lope handles all of the force transfer

that we see from you know our interior
which is homogeneous to apparently that

out exterior which is assumed to be
hostile for some reason the fact that

the below ends up being a place where
everything begins to happen and

it's one of the reasons why
we see things like this

sort of doubling down on the on below.

Or why we see discussions like
this which I really enjoy thinking

like Wolf I'm using so much energy then
I have to make that boundary smaller

in order to deal with but if I were.

To come back to you and
say this has zero relationship

to the formal structure of the building
but what would it really look like so

that you can understand what it looks like
show you right now in this neck image what

the quintessence is of
he crossing a boundary.

That is a thermodynamic system that
is he crossing from the system to

surroundings across a boundary about
as clear a thermodynamic behavior as

you can imagine there is no connection
between something like this and

then the form that we make on that so

we just sort of quickly shift a little
bit now so those are some examples of

where I want to challenge the way that we
think about things to sort of get us away

from sort of what we observe and
assuming what we observe translates and

true our direct understanding something
I'm going to share with you a couple of.

Actually just kind of one research
project with two pieces to it.

That I hope go in the other direction
that if you know how something works

then you can see so saying doesn't
necessarily translate to knowing but

knowing can translate into a different
way of seeing I'm sure many of

you I'm Paula Jones again for
the the the font not working out here but

I'm sure many of you are familiar I
hope you're familiar with this sort of

great Roscoe.

Sort of debacle but also sort of a real
success story that took place at Harvard.

The Rothko murals have been
improperly stored probably some of

that north light coming in somewhere but
they've been improperly stored they had

completely faded to this right this is
what they originally looked like they had

faded to the US There was huge debate
as to how they were to be restored.

And a lot of concern about the fact that.

A restoration to the proper color was
actually going to be damaging and

also really impact the way that paint
was distributed on these canvases so

in the end they're only virtually restored
this is a virtual restoration in here and

it's sort of show you what's going on
this is young Stanger who was the.

Conservator who did this
these are projections onto

the original dated one seven hundred
compare back to here this is a projection

this is untouched this is a very very
high quality projection onto this and

here he is showing the nature
of the projection and

what this requires is
sort of an incredible.

Very sophisticated L.E.D. lighting
carefully controlled on a pixel by pixel.

Pixel by pixel program in order
to adjust the light striking

each part of there so when you're in this
room you really honestly cannot tell that

that's a projection recreating that
Rothko on that damaged Rothko unless

you actually interrupt the production so
we've been thinking a lot about

what what Younes was doing and I said as I
said I'm on the board of the Institute for

the preservation of cultural
heritage at Yale and so we hired him

two years ago to see if you could
bring that technology over to us but

instead of sort of thinking about
necessarily the really creation or

the virtual recreation of artifacts could
we use that actually to understand.

Not not to understand
our artifacts better.

But to light better in spaces so
one of the things that we used him for

although he had quite an employ
the same technique how to do with the.

Incredible restoration of this Velasquez
which was found in a basement and

Yale folded up and mildewed wanting to
restore that already a heavily damaged and

you know credible piece piece of art
wanting to minimize the amount of light on

this because again every wavelength
is damaging but using advanced L.E.D.

lighting interestingly from the the some a
TA Griffey industry sentiment talk of he's

done an incredible amount of work with
lighting and again both wavelength and

directional control in order to use that
for the conservators of conservators need

outstanding color rendition they
need great contrast control and

at the same time we want no light on these
paintings could we use a really good

lighting in order to do it out and
that's what was helped in that matter and

if we just sort of think about it quickly
off the top of our heads when we think

about lighting and buildings we're
thinking again is kill most you know it's

a colonizing the future with the present
we look at it as a replacement for

conventional lighting if we even
think about it in relationship to

what's happening automotive industry and
of course for

me being originally a mechanical engineer
in mechanical engineering we would think

of no industry as being less innovative
than the automotive industry and

yet in our case it's actually way more
innovative here this is all designed based

on what you see how you see not based
to provide you know the sort of

general level of illumination that has no
relevance to the two to what you see but

all entirely based discretely on how light
strikes the retina and so there are some

computational tools out there Micron scale
ray tracing which by the way was used

to design that dashboard understanding
glare control as well as

what the field of view is going
to be on the retina and so

this is part of this effort that now we're
hoping to start to pull together and yes.

It's sort of sad that we're
doing it in the art world but

we feel like in the art world
is where we get traction and

I'm running out of time but I just wanted
to show you this last little piece because

we just tired our last person to
work on this project last week.

If you look at these ashtray
classifications for art there's five

different classifications that tell you
what the museum environment needs to be

what its relative humidity variations what
its temperature variations need to be but

if you think about it's from the mind
of the you know the museum director

Ideally everything would be kept in what
we call a Delta case you know sealed up

completely totally controlled
we're trying to break all of

that apart you know has the third largest
art collection in the United States

the Smithsonian's collective
Smithsonian's Institute or the largest.

Metropolitan Museum is number two
we're number three with two million

pieces of art artifacts
within it including

lots of things like that every alum whose
ever shot anything has donated to school.

This amazing piece which I'm actually
going to be displaying speaking about to

the United Nations next week first example
that we have of molded plywood from

the third century a sort of incredible
shield that I can pick up with one finger.

To.

This incredible totem collection to the
world's largest collection of Iron Age can

use to also the world's largest collection
of harpsichords you know it goes on

from there but we've just sort of
come together to define a way that

we want to break the ashtray classes and
actually create micro environments for

each of these objects simple micro
environments that mitigate their movement

so that these these things can be flexibly
curated they can be pulled out for

teaching they can move across.

The country about all of this art
that actually has been hidden

locked away sealed away now
becomes a public entity and

a public good so
I just wanted to finish their.

Show this sort of one last slide
that's one of my favorites.

Working with students and trying to get
them to understand how phenomena actually

behave that this is a student who made
a number of these head pieces with

fiber optics and L.E.D.S.
trying to show my show and

demonstrate the depth our understanding
of depth it's actually not related

to where the surface is it's related
to be a lumination of that surface so

you can create articulation of surfaces
and you can create depth simply by dealing

with small micro roofs and contrast small
right Michael roofs in luminance So

one of these pieces appears to
be about one hundred feet away

one will appear to be an inch away and
they're actually all right located and

in this particular location
Ben Anyway thank you very much and

I think you're going to hear some
great work from both Ana and

Sheila who I they're
they're inspirations to me.

So thank.